The past is not really past

It is no secret that writers are influenced by authors whose work they admire. Though he would later turn his back on them, Ernest Hemingway felt the literary touch of contemporaries such as Sherwood Anderson and Gertrude Stein (his style was also molded by the “cable-ese” of his own newspaper reporting), while William Faulkner was drawn to French poets and to writers such as Balzac, who built his novels from a specific locale, what Faulkner would later call his “own little postage stamp of native soil.”

In a recent interview, novelist Dawn Tripp cited her own influences — Virginia Woolf, Faulkner, Ondaatje, Marguerite Duras, and others — all of whom write, as Tripp accurately states, novelistic structures that are not straightforward and linear in time, but instead are either fractured or mosaic in their construction of story and plot. Of this particular novelistic approach, which tells its story by building on the perceptions of characters and their take on other characters and events, Tripp accurately says that “there is a certain dreamlike immediacy, a certain life of the work that takes precedence, a nuanced undercurrent of thought and feeling that runs through the narrative ….”

In her latest novel, Game of Secrets (ISBN 978-4000-6188-4, $25), Tripp creates a story that fulfills these ambitions, a tale that, as she says, “is absorbed by the reader in a more visceral, intuitive way” than that provided by most authors. The fragmented structure of Game of Secrets immediately and intimately draws the reader into itself, piecing together a mosaic built from adultery and murder, from small-town New England lives, from Scrabble games played between two women who are friends and strangers to each other, from the passions of the young who return to a place and circumstances which they have both loved and hated.

Game of Secrets enlists a squad of narrators to tell its sad, lurid story. There is Jane Weld, 11 years old when her father, Luce, disappeared (his skull was later found with a single bullet hole in it), who loves poetry — she is particularly enamored of the verse of Dylan Thomas — and who now plays weekly Scrabble games with her murdered father‘s aged lover, Ada Varick. There is Marne, Jane’s angry, wandering daughter, who has returned to the village from California as a burnt-out case, who in knocking about the country has picked up a knack for origami, and who now finds herself attracted to Ray, Ada’s son. There are Ada’s sons: Ray, to whom Marne looks for affection, and the darkly flawed Huck, whose wild and despairing bitterness is rendered less alienating by his love for Jane.

Through the eyes of these men and women, all possessed by virtues and faults, all haunted by a past not of their own making, we come slowly to understand how the long-ago affair between Luce and the tempestuous Ada has carried its weight down through the passage of years. As Game of Secrets reveals its mysteries, the reader — along with the characters — comprehends the ramifications of that long-hidden crime and its effects on the members of the Varick and Weld families. The story is much like the Scrabble game written about in scrupulous detail by Tripp, the contest played between Ada and Jane that runs like an Alpine rope through most of the book, linking characters and events. We see that this game of words, of words building on words in surprising and startling ways, mirrors the relationships and history of the characters themselves.

In addition to her gifts for characterization and for creating suspense, Tripp — she is also the author of the novels Moon Tide and The Season of Open Water — gives us an intimate portrait of rural New England itself. In reading Game of Secrets, we come to know Tripp‘s own “postage stamp of earth”: the ways of the town and the countryside, the tourists who vacation here in the summers, the hard lives of many of the natives, the play of air and wind and sunshine on the land and the sea. Here, for example, Marne takes note of the land while on a drive with Ray:

“When you first come home, you can’t help but feel a certain nostalgia. You see the idyll of the place — you see it like a person away might — the tranquil New-Englandy beauty, swatches of open land still left, the village at the Point, those cedar-shingled saltbox houses, the double-forked branch of the river, sea running into land.

“It’s a particular point of earth — you come home, and the light is like nowhere else. You think to yourself, I can do this. So you stay.”

Faulkner once famously observed that “the past is never dead. It is not even past.” Our own Thomas Wolfe, another author obsessed with time and its cumulative effects on the lives of all human beings, echoed this sentiment when he wrote at the beginning of Look Homeward, Angel: “…our lives are haunted by a Georgia slattern, because a London cutpurse went unhung. Each moment is the fruit of forty thousand years.”

In Game of Secrets, Tripp reminds us once again that the past is always with us, that we struggle both to escape its clutching fingers and to embrace its terrible beauty, and that the secrets of the past, once revealed, may not only inflict painful wounds, but may also in the end bring healing and acceptance.

Reading Room

So, Scout (Jean Louise) comes back home to Maycomb — where “everyone is either kin or almost kin”— at age 26 and after being “away” and living in New York City for several years. Sixteen years have gone by since we last heard from her in the pages of To Kill a Mockingbird, and the Maycomb she comes home to isn’t the same Maycomb we know from the 1960 novel.

This Must Be the Place

For the better part of the last decade, my life during the summer was music festivals. From Maine to California, Michigan to Arkansas, I was there, in an endless crowd, cheering on the greatest musicians of our time. In those innumerable moments, I felt more alive, at home, and at peace, than anywhere else in the world.